Sentences with phrase «of precisionist»

To cite but a few: Among the works unfamiliar to me were I. Rice Pereira's «Boat Composite,» a large, vivid yet grisaille canvas from 1932 that dominates a gallery of Precisionist paintings and photographs with its bold scale and paint handling, learning from Fernand Léger while presaging the great late works of Stuart Davis and Philip Guston.

A later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s.

His central role in the development of Precisionist aesthetics was reinforced in 1922 by a one - man - show in New York.

Through over 100 of these precisionist works, this exhibition explores the optimism and anxiety over rapidly advancing technology between the two World Wars.

On the East Coast, the influence of the precisionist realism of Colville, Christopher Pratt and Mary Pratt also supported the idiosyncratic image painting of Gerard Collins, Nancy Edell and Suzanne Funnell.

Two virtually identical Sheeler works in «Cult of the Machine» epitomize the hermetic nature of the Precisionist project.

Butler finds herself pulled between the worldly confines of the Precisionists of the early twentieth century and the fey liberation of today's Casualist abstraction.

Not exact matches

Precisionist quartz movement with a sweeping second hand provides incredible accuracy, a date window offers added functionality and luminous hands and markers offer easy readability any time of day.

And a gimlet - eyed Precisionist rendering of Central Park from 1932 by Charles Sheeler dedicated to Abby Rockefeller blew past its $ 500,000 high estimate on its way to a $ 1.33 million finish.

But whereas the Precisionists celebrated the man - made as an expression of humanity's ability to create a perfect world, the Photorealists reacted against both Abstract Expressionism's rejection of realism and Pop Art's sendup of commercialism.

In a selection of paintings with an architectural focus, we aim to show that these Precisionist characteristics used by artists of the 1930s - 1940s were modified only slightly by new narratives contributed by national and international social events.»

And, last but not least, Pocket Utopia included a snapshot of Two Coats editor (that's me) Sharon Butler's new paintings, and an invitation to «Precisionist Casual,» her (my!)

The premier exhibition is a rotating group survey of New Precisionist painting... see more

Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life in America (1932).

This tour - de-force presentation includes key paintings by American Precisionists such as Charles Sheeler, Georgia O'Keeffe, and Charles Demuth, and iconic works by the masters of straight photography such as Paul Strand, Berenice Abbott, and Edward Steichen.

About Ralston Crawford Ralston Crawford (1906 - 1978) is predominantly known for his abstract representations of urban life and industry, and his early work is frequently associated with Precisionist artists such as Charles Sheeler and Stuart Davis.

• PRECISIONISM & ART DECO (1920s) Charles Demuth (1883 - 1935) Leading Precisionist of the 1920s and 1930s; also invented poster - portraits.

[7] However, Driggs» use of «ray lines» (slender black lines that criss - cross the canvas, recall Precisionist works by Charles Demuth, and particularly his «My Egypt» (also from 1927).

[5] Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present.

At the same time that Driggs exhibited her Precisionist machine age works at the Daniel Gallery, she was also creating a series of important plant forms, both in pastel and oil, for the same gallery.

Showcased in 1925 at the International Exhibition of Modern Decorative and Industrial Arts held in Paris, Art Deco was essentially a reaction against Art Nouveau: replacing the latter's flowing curvilinear shapes with Cubist and Precisionist - inspired geometric forms.

Ruple's scenes, composed of flat, clearly delineated shapes nestled to suggest dimension and shadow, evoke the Precisionist Charles Sheeler's renderings of factories from the 1930s,»40s, and»50s.

In one gallery alone you can jump from Hopper to O'Keeffe to the quasi-abstract precisionists, early Jackson Pollock, political Philip Guston and the thick impasto of William H Johnson's post-cubist couple beneath a chunky Harlem moon.

This will be the first exhibition to explore the «cool» in American art in the early 20th century, from early experiments in abstraction by artists like Georgia O'Keeffe, Arthur Dove and Paul Strand to the strict, clean precisionist paintings of Charles Sheeler and Charles Demuth.

Like the Precisionists, Butler is drawn to urban settings, structures, and HVAC architecture — all in evidence from the windows of her Bushwick studio.

Pocket Utopia is pleased to present «Precisionist Casual,» a solo exhibition of new paintings by Sharon Butler.

The Ashmolean Museum's latest exhibition examines this early 20th century American pride and optimism; but also touches on something potentially frightening about the Precisionist painters» expression of that «Modernist soul».

Instead, his straightforward depiction of walkways, clouds and trees gives rise to an order that feels very natural — something very different from the comparatively contrived compositions favored by the Luminists, the Precisionists or the American Impressionists.

Influenced by European art movements of the early twentieth century, American Modernists including the Precisionist Charles Sheeler and Abstract Expressionist Adolph Gottlieb emphasize the industrial, the international, or the psychological through gesture, texture, surface, geometry, shape, form and color.

Stella is considered an important figure in American art history and is associated with the Futurist and Precisionist movements, gaining contact with prominent members of the New York art scene such as Alfred Stieglitz, Gertrude Stein, Albert Gleizes and Marcel Duchamp.

All of the artists on display express «modern» with a fascinatingly detached eye; this was the new American aesthetic and the Precisionist movement of the period considered itself to be strictly American, and reluctant to acknowledge the European influences of Cubism and Futurism.

This precise and detached aesthetic can be seen throughout the works; and is at the centre of the curatorial narrative, beginning with a focus on objects, restricting, eliminating, and reducing the painterly form; which is later employed in the Precisionist's representation of the modern dehumanised landscape.

Known primarily as a Precisionist painter, Elsie Driggs (1898 - 1992), in the course of her long career, also painted still life and the figure.

MUSEUM OF FINE ARTS Photography by no means played second fiddle to Charles Sheeler's work as a Precisionist painter.

The Photography of Charles Sheeler MUSEUM OF FINE ARTS Photography by no means played second fiddle to Charles Sheeler's work as a Precisionist painteof Charles Sheeler MUSEUM OF FINE ARTS Photography by no means played second fiddle to Charles Sheeler's work as a Precisionist painteOF FINE ARTS Photography by no means played second fiddle to Charles Sheeler's work as a Precisionist painter.

This is the first exhibition to explore the «cool» in American art in the early 20th century, from early experiments in abstraction by artists like Georgia O'Keeffe, Arthur Dove and Paul Strand to the strict, clean precisionist paintings of Charles Sheeler and Charles Demuth.

Among Charles Demuth's best known 20th century paintings in the Precisionist idiom include: My Egypt (1927, Whitney Museum of American Art), and Buildings Abstraction, Lancaster (1931, Detroit Institute of Arts).

Also significant were the Precisionists, a loosely unified group who portrayed contemporary America in a hard - edged, boldly coloured version of Cubism.

It was exemplified in works by Charles Demuth (1883 - 1935) and Charles Sheeler (1883 - 1965), while the urban pictures of Georgia O'Keeffe (1887 - 1986) are also associated with the Precisionist style.

If such early works have a precisionist care in how they are painted that recalls early Renaissance painters like Pietro Lorenzetti or Domenico Veneziano, as much as they do product advertisements and packaging design from the 1920s, later works offer a bolder more sculptural approach, and suggests a whole other range of range of artists who followed Davis, including Elizabeth Murray and Al Held.